Transcript
Audio Demo Cuts Chapter 1 Cut 1-1 A sample commercial with the music and copy mismatched. Cut 1-2 A sample commercial with the music properly matched to the copy. Chapter 2 Cut 2-1 Audio frequency sweep from 100 Hz through 20 kHz, with the major frequencies announced. Cut 2-2 Audio frequency sweep from 50 Hz to 5 kHz at a fixed sound level to demonstrate perceived sound-level changes. Cut 2-3 A fixed frequency audio signal with the sound level varied to demonstrate a perceived frequency change. Cut 2-4 Shuttle launch recorded at the Kennedy Space Center press site to demonstrate how it took nearly 15 seconds for the sound to arrive there from the launch pad, which was 3.1 miles away. Cut 2-5 Demonstration of music recorded 180 degrees out of phase. Chapter 3 Cut 3-1 Vocal demonstration of the proximity effect using an AKG 414 microphone. Cut 3-2 Demonstration of a ribbon microphone’s open, natural sound. Cut 3-3 Demonstration of the proximity effect with a ribbon microphone at various distances up to 3 feet. Cut 3-4 Vocal recording with an AKG 414 at 3 feet, 2 feet, 1 foot, and 6 inches from the face of the microphone. Cut 3-5 Omnidirectional microphone pattern demonstration with an AKG 414 microphone. Cut 3-6 Bidirectional microphone pattern demonstration with an AKG 414 microphone. Cut 3-7 Cardioid microphone pattern demonstration with an AKG 414 demonstrating 0degree versus 180-degree sensitivity. Cut 3-8 Hyper-cardioid microphone pattern demonstration. Cut 3-9 A demonstration of polar frequency response by rotating an AKG 414 while in the super-cardioid pattern and speaking into it. Cut 3-10 Demonstration of an AKG 414 microphone without a shock mount, and the building noise and rumble it picks up. Cut 3-11 Recording of birds and mountain stream in the Joyce Kilmer Forest. Cut 3-12 Recording of white-water rafters on the Nantahala River. Cut 3-13 A recording of a direct and an ambient microphone demonstrating the various mixes that can be created from the two tracks. Cut 3-14 P popping demonstration. Cut 3-15 Demonstration of a Shure SM 81 with and without a pop filter. Cut 3-16 (A) Demonstration of a Sennheiser 421 II with a person speaking directly into the front of the mic, popping their p’s. (B) The same person speaking into the same microphone, turned 90 degrees to the side. Cut 3-17 (A) Demonstration of a Sennheiser 421 II outside, without a windscreen, on a windy day. (B) The same microphone with a windscreen, under the same conditions. Cut 3-18 Demonstration of a person speaking directly into a lavalier microphone placed at the lips.
Cut 3-19 Chapter 4 Cut 4-1 Cut 4-2 Cut 4-3 Chapter 6 Cut 6-1 Cut 6-2 Cut 6-3 Cut 6-4 Cut 6-5 Cut 6-6 Cut 6-7 Cut 6-8 Cut 6-9 Cut 6-10 Cut 6-11 Cut 6-12 Cut 6-13 Cut 6-14 Cut 6-15 Cut 6-16 Cut 6-17 Cut 6-18 Cut 6-19 Cut 6-20 Cut 6-21 Cut 6-22 Cut 6-23 Cut 6-24 Cut 6-25 Cut 6-26 Cut 6-27 Cut 6-28 Cut 6-29
Demonstration of a shotgun microphone’s audio pickup compared to an omnidirectional microphone at the same distance from the sound source. A demonstration of equalization by placing one sound above or below another, carving an equalization hole (i.e., to demonstrate height in a mix). A demonstration of panning to help provide width in a mix. A demonstration of reverb to help provide depth in a mix. An example of an announcer’s voice with and without a voice processor. An example of an announcer’s voice with and without compression over music to demonstrate how compression raises the voice above the music. A whisper that is compressed and becomes a loud whisper. An example of an announcer’s voice that compares a 4:1 compression ratio to a 15:1 compression ratio. An example of an announcer’s voice demonstrating a compressor pumping. An example of an announcer’s voice with limiting applied. An example of an announcer’s voice with expansion applied. An example of an announcer’s voice using a noise gate. A demonstration of a high-pass filter cutting or removing building rumble. A demonstration of a low-pass filter cutting or removing the high end from a vocal. A demonstration of a notch filter removing pops and clicks. A demonstration of a de-esser on an announcer’s voice. An equalization demonstration to show the effects of boosting and cutting frequencies. An example of an announcer’s voice with 40 milliseconds of slap delay. An example of an announcer’s voice with 40 milliseconds of slap delay and feedback. An example of an announcer’s voice with less than 35 milliseconds of slap delay. An example of an announcer’s voice with reverb, demonstrating three differentsized rooms or spaces. A recording of a piano without reverb, compared to a piano with small reverb and short delay to make it sound bigger than life. A recording of a music bed and how to move it behind or in front of a vocal using reverb. A demonstration of a 20 to 35 millisecond chorus effect on a piano recording. A demonstration of the phase-shift effect. A demonstration of a 10 to 20 millisecond flanging effect. A demonstration of the re-amping effect. A demonstration of normalizing a vocal. A demonstration of adjusting the input on a PreSonus voice processor. A demonstration of adjusting the compressor controls on a PreSonus voice processor. A demonstration of adjusting the expander on a PreSonus voice processor. A demonstration of adjusting the de-esser on a PreSonus voice processor. A demonstration of adjusting the shelving filters on a PreSonus voice processor.
Cut 6-30 Cut 6-31 Chapter 7 Cut 7-1 Cut 7-2 Cut 7-3 Cut 7-4 Cut 7-5 Chapter 8 Cut 8-1 Cut 8-2 Cut 8-3 Cut 8-4 Cut 8-5 Cut 8-6 Cut 8-7 Cut 8-8 Cut 8-9 Cut 8-10 Chapter 10 Cut 10-1 Cut 10-2 Cut 10-3 Cut 10-4 Cut 10-5 Cut 10-6 Cut 10-7 Cut 10-8 Cut 10-9 Cut 10-10 Chapter 11 Cut 11-1 Cut 11-2
A demonstration of adjusting the peak limiter on a PreSonus voice processor. A demonstration of the Eventide Harmonizer and its effect on voice. An example of a commercial in which the advertiser talks only about the business and uses industry jargon (Amy’s Cookie Factory). An example of a commercial in which the advertiser stresses customer benefits (Amy’s Cookie Factory). An example of a commercial that uses “we” and “us” versus one that uses the business’s name instead (Amy’s Cookie Factory). An example of a good wrap at the end of a commercial. An example of how confusing telephone numbers can be in a commercial and a better way to present them. A demonstration showing how too many sound effects ruin a commercial. Two different reads of a commercial to demonstrate the differences in presentation of the same material. An original, unedited, location recording of the historic Baldwin steam engine number 722 owned by the Great Smoky Mountains Railroad, Dillsboro, North Carolina, for sound effects editing purposes. An “OK” read of a commercial with the announcer doing several pickups so that the production person can edit to the read he or she likes. A 60-second music cut created with music loops. A comparison of an unprocessed voice track and the same voice track with mild compression and reverb, demonstrating how the processed voice blends with the commercial. A 60-second agency commercial with space for a 10-second tag at the end for local copy. A 60-second agency commercial with a donut in the middle for local copy. A news story that has been unethically enhanced using sound effects and audio processing. A person saying the numbers 1 through 10 in random order, with breath sounds between each; this is an editing exercise. Radio station sweeper demonstration. A national, award-winning promo. Morning show promo. Promotional voice demonstrations. Promotional voice doing sample liners. Promotional voice doing sample sweepers. Highly produced sweeper sample. Transition sweeper from music to news. Sample sweeper with station ID buried inside. Demo of jingles from TM Studios, Inc. Thirty seconds of a remote broadcast on a POTS line. Thirty seconds of a remote broadcast on a POTS codec.
Cut 11-3 Thirty seconds of a remote broadcast on an ISDN codec. Cut 11-4 Thirty seconds of a remote broadcast on a Marti VHF remote pickup transmitter. Cut 11-5 Thirty seconds of a remote broadcast on a satellite phone. Chapter 14 Cut 14-1 An audition of imaging, including liners and sweepers from Jeff Laurence. Chapter 15 Cut 15-1 Actual radio production student audition. Cut 15-2 Actual air talent’s audition. Music Demo Cuts Cut 1 Carolina Blues—full mixed version (1:35) Cut 2 Carolina Blues—piano track (1:35) Cut 3 Carolina Blues—bass track (1:35) Cut 4 Carolina Blues—drum track (1:35) Cut 5 Carolina Blues—rhythm guitar track (1:35) Cut 6 Carolina Blues—lead guitar track (1:35) Cut 7 Rock 1 (1:30) Cut 8 Rock 2 (1:00) Cut 9 Swing (1:00) Cut 10 Funky (0:59) Cut 11 Funky Too (1:00) Cut 12 Smooth (1:00) Cut 13 Sweet (0:59) Cut 14 Pretty (waltz) (1:00) Cut 15 A Bit of Bach (2:00) Cut 16 Mozart (1:00) Cut 17 Far East Loop (1:00) Cut 18 Reggae Loop (1:00) Cut 19 Garage Loop (1:00) Cut 20 Dirty Loop (1:00) Cut 21 News and Public Affairs Bed (full version) (1:00) Cut 22 News and Public Affairs Bed (short) (0:30) Cut 23 News and Public Affairs Bed Bumper (0:15) Cut 24 News and Public Affairs Bed Bumper (0:05) Cut 25 Drum 1, Basic Pattern (0:10) Cut 26 Drum 2, Pattern with Fill-A (0:14) Cut 27 Drum 3, Pattern with Fill-B (0:10) Cut 28 Drum 4, Pattern with Fill-C (0:10) Cut 29 Drum 5, Fill Only-A (0:03) Cut 30 Drum 6, Fill Only-B (0:02) Cut 31 Drum 7, Ending Only (0:09) Cut 32 Drum 8, Pattern with Crash (0:10) Cut 33 Drum 9, Pattern with Ride (0:13) Cut 34 Drum 10, Pattern with 8ths (0:10) Cut 35 Drum 11, Pattern with 8ths + Open Hat (0:10) Cut 36 Drum 12, Pattern with 8ths + Crash (0:10) Cut 37 Drum 13, Pattern with Ride (0:13)
Cut 38 Drum 14, Pattern with 16ths (0:10) Cut 39 Drum 15, Pattern with 16ths + Crash (0:10) Cut 40 Drum 16, End Hit Only (0:05)
